Woodberry, George Edward. [1855-1930] (3) Born at Beverly, Massachusetts, May 12, 1855. Graduated with the degree of A.B. from Harvard University in 1877. The degree of Litt.D. was conferred on him by Amherst College in 1905, and by Harvard University in 1911, and the degree of LL.D. by Western Reserve University in 1907. He was Professor of English at the University of Nebraska, 1877-78; also 1880-82, and was Professor of Comparative Literature at Columbia University 1891-1904. Professor Woodberry is one of the ablest critics and biographers in American literature as well as one of the finest poets. Among his best-known volumes of criticism are: "Studies in Letters and Life", "The Heart of Man", "Makers of Literature", "The Torch", "The Appreciation of Literature", and "The Inspiration of Poetry". In biography he has done admirable studies of Poe, Hawthorne, Shelley, Swinburne, Emerson, etc.; and in poetry he has published many volumes, of which the most representative are: "The North Shore Watch", 1890; "Wild Eden", 1900; "Poems", 1903; "The Kingdom of All Souls", 1912; "The Flight", 1914; and "Ideal Passion", 1917.
—— Rittenhouse, Jessie Belle. [1869-1948] Jessie Rittenhouse is best known as an editor and for her compilations, but she was also a poet — though she did not include her own work in her compilations. Her compilations and criticisms include: "The younger American poets", 1904; "The Little Book of Modern Verse", 1913; "The Little Book of American Poets, 1787-1900", 1915; "The Second Book of Modern Verse", 1919; "The Little Book of Modern British Verse: One Hundred Poets since Henley", 1924; "The Third Book of Modern Verse", 1927. Her own works include: "The Door of Dreams", 1918; "The Lifted Cup", 1921; "The Secret Bird", 1930; "My House of Life; an Autobiography", 1934; and "The Moving Tide; New and Selected Lyrics", 1939. Her compilations went through numerous printings, and are still a good guide to the poetry of the era. ——
Notes to the text:
Due to the technical limitations of ASCII, accents were not included in the text. However, a complete list follows of each line where an accent occurred in the original. The "pipe" character (|) indicates a special character, and a marker for the accent follows, except in cases where two vowels make a combined character, as in C(ae)sar. Most should be obvious, but "=" represents an accent seldom used, that looks like the bottom half of a circle. The affected lines are:
Tryste No|"el. [Louise Imogen Guiney]
His foot was wing|\ed as the mounting sun.
Bruis|\ed past healing by some bitter chance,
Who leads despis|\ed men, with just-unshackled feet,
Now limb doth mingle with dissolv|\ed limb
The cup of trembling shall be drain|\ed quite,
While all the thousand-fring|\ed trees
"Bless|\ed! but not as happier children blessed" —
And the far rose of P|aestum once did climb.
But most, his music whose belov|\ed name
For sun-filled ones, one bless|\ed thing unknown.
The curl|\ed lashes of Semiramis.
And like the peal of an accurs|\ed bell
The chaplain clasped his mail|\ed knee.
With steadfast lips and veil|\ed eyne;
I hold my peace, my Cle|"is, on my heart;
Beyond the lure of light Alc|aeus' lyre,
I saw two wing|\ed shadows side by side,
Around thine earth sun-wing|\ed winds do blow
About their fragile hairs' a|"erial gold.
From a barr|\ed door."
Peopled with fa|"ery glimmerings,
A fa|"ery world of memory,
Upon my lowly, thatch|\ed roof,
Laid gently on my seal|\ed sight,
Who combed their long hair at Thermopyl|ae's pass?
That Dvo|=rak took whole from the dancers.
C|aesar dreamed him a world ruled well;
Mad boy, for Glauc|"oe.
Wine-sweet are Glauc|"oe's kisses,
He seems to hearken, Glauc|"oe,
The wing|\ed breath of you.
With C|aesar's cohorts sang of thee,
An unseen, skillful, medi|aeval wall.
|Aeschylus wanders back.
As in the crevices of C|aesar's tomb
The mind conceived you, though the quench|\ed mind
Across his stretch|\ed vision as in dream —
Expunge the horrible C|aesars of this slum!"
In frill|\ed crimson flaunt the hollyhocks,
And yet that veil|\ed face, I know
Bless|\ed the angel, gazing on all good,
Yet wondrous faith in God's dew-drench|\ed morns —
He missed the medi|aeval grace
But sore am I with Vaine Trav|\el!
My heart shall p|aean sing,
myth or mysticism. His first volume was "Low Tide on Grand Pr|/e",
Mr. Le Gallienne has made an admirable paraphrase of the "Rub|/aiy|/at"
of Omar Khayy|/am and of a group of odes from the "Divan" of Hafiz.
studied at San Jos|/e Normal School and the University of California.
Born at Br|"un, Austria, though of American parentage, on April 8, 1879.
to study for the degree Doctorat |\es Lettres. This was conferred upon him
"Les Sentences dans la Po|/esie Grecque d'Hom|\ere |\a Euripide"
"El Dorado: A Tragedy", 1903; "Ab|/elard and H|/elo|"ise: A Drama", 1907.
studying during 1909 at G|"ottingen and during 1910
at the Sorbonne and the Biblioth|\eque Nationale of Paris.
Three different printings were used for comparison, all three of which were apparently from the same plates. The punctuation in particular was poorly printed, so even with three versions to choose from, in a few cases the punctuation had to be guessed at.
The Acknowledgements section has been mostly omitted.
Otherwise, only two significant changes to the text were made, other than adjusting the punctuation on an occasional title so that the title in the text matched that in the table of contents, a few other minor errors in punctuation, and the changes noted in the Biographical Notes.
In "Da Leetla Boy" by Thomas Augustine Daly, the second occurrence of the line
"Of — w'at-you-call? . . ." was "Of — wa't-you-call? . . ." in the original.
After observing the spelling of "w'at" in the other poem by Mr. Daly,
this was changed to conform with the `correct' spelling.
"Sweeney, Mildred McNeal" was originally misspelled "Sweeney, Mildred McNeil" in the notes.